Copyright (c) 2009 Sheffield Hallam University All rights reserved. http://digitalcommons.shu.ac.uk/drs2008/session3/track_d Recent Events in Theory, Creativity en-us Wed, 09 Sep 2009 08:27:56 PDT 3600 http://digitalcommons.shu.ac.uk/drs2008/session3/track_d/3 http://digitalcommons.shu.ac.uk/drs2008/session3/track_d/3 Wed, 16 Jul 2008 16:00:00 PDT Audio-visual Rhetoric is a knowledge domain for designers in theory and practice that is valid for all communicative actions through media that aim for persuasion. Within this domain, we introduce a framework for media analysis. We developed an Audio-Visual Pattern (AVP) language for film that is visualized within a notation system. This system shows auditory and visual parameters in order to reveal film's rhetorical structure. We discuss related theories from pattern language and rhetoric and apply the AVP method to analyze 10 commercials. Keywords: Pattern Language, Film Analysis, Rhetoric, Emotion, Persuasion, Design Research Gesche Joost http://digitalcommons.shu.ac.uk/drs2008/session3/track_d/2 http://digitalcommons.shu.ac.uk/drs2008/session3/track_d/2 Wed, 16 Jul 2008 17:00:00 PDT This paper is a presentation and a discussion of the research methods used in the author's research project at Oslo School of Architecture and Design (Gulliksen, 2006). The aim of the research was to describe how a group of people, in this case: students and teaches, come to agree upon what a good quality form is. The chosen way of explaining the notion of form quality in design engaged a socio-constructivistic approach, based in the theories of Bourdieu and Foucault and others. It rendered form quality as something constructed by the individual in interaction with artefacts and other individuals. The object of the study was to explore the mechanisms of this construction, separated into dynamical aspects (the actual construction) and the hierarchical aspects (the restrictions) of the constructive mechanisms. Fairclough's critical discourse analysis of communication (verbal, visual and more) about form was the methodology chosen. This paper discusses certain fundamental methodological questions concerning the use of this perspective and this methodology in a design process. It asks in what way it is convenient to study something as material as an artefact's form as something as immaterial as construction, communication and text. The paper is based on specific examples from the thesis presenting the research, ending with a short conclusive discussion concerning the opportunity this perspective gave to avoid a dichotomist basis (in the artefact it self or in the eyes of the beholder) for theories concerning form quality, and to sustain a focus on the communicational and relational aspects of the designing process. Keywords: Form Quality, Formbild, Socio-Constructivism, Discourse Analysis, Methodological Considerations Marte S. Gulliksen http://digitalcommons.shu.ac.uk/drs2008/session3/track_d/1 http://digitalcommons.shu.ac.uk/drs2008/session3/track_d/1 Wed, 16 Jul 2008 16:30:00 PDT This study investigated the design process in order to clarify the characteristics of the essence of the creative design process vis-à-vis the interpretation process, by carrying out design experiments. The authors analyzed the characteristics of the creative design process by comparing it with the linguistic interpretation process, from the viewpoints of thought types (analogy, blending, and thematic relation) and recognition types (commonalities and alignable and nonalignable differences). A new concept can be created by using the noun-noun phrase as the process of synthesizing two concepts--the simplest and most essential process in formulating a new concept from existing ones. Furthermore, the noun-noun phrase can be interpreted in a natural way. In our experiment, the subjects were required to interpret a novel noun-noun phrase, create a design concept from the same noun-noun phrase, and list the similarities and dissimilarities between the two nouns. The authors compare the results of the thought types and recognition types, focusing on the perspective of the manner in which things were viewed, i.e., in terms of similarities and dissimilarities. A comparison of the results reveals that blending and nonalignable differences characterize the creative design process. The findings of this research will contribute a framework of design practice, to enhance both students' and designers' creativity for concept formation in design, which relates to the development of innovative design. Keywords: Noun-Noun phrase; Design; Creativity; Blending; Nonalignable difference Yukari Nagai